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Disco de Saul Williams: “Saul Williams [Bonus Track]”
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Saul Williams [Bonus Track] |
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Fecha de Publicación:2005-06-27
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Tipo:Desconocido
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Género:Hip-Hop/Rap
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Sello Discográfico:V2
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Letras Explícitas:Si
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UPC:4520227005504
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Análisis (en inglés) - :
Critics have a hard time deciding what to call {$Saul Williams}' music -- poetic {\hardcore}, "punk-hop." It certainly isn't straightforward {\hip-hop} by any means. On his self-titled album, {$Williams} moves toward a slightly more accessible format (compared to his previous, more {\poetry} driven work) with twisted guitar lines, heavy bass thumps, and a closer stab at singing from time to time. The album opens with {\poetry} laid over a fairly sparse piano riff, then moves into a swooping, thumping bit of {\electronica} where {$Williams} nearly takes on a {$Prodigy}-type sound with his vocal swagger. Where the opening track laid {\poetry} over a sparse track, {$Williams}' stinging telegram to {\hip-hop} is {\poetry} laid over a dense, dense sound à la {$Public Enemy}'s {$Bomb Squad}. {$Zack de la Rocha} shows up to lend a hand on a slightly more stripped down, and yet more straightforward, piece of {\hip-hop} perhaps, an indictment of the Iraq war and its subsequent issues -- a modern, though less melodic, {^What's Going On}. {&"List of Demands,"} an outstandingly frenetic piece (somewhat ironically appropriated by Nike), manages to build tension gradually, then hits that elusive perfect single beat at the opening to each break. {&"African Student Movement"} uses a backbeat to produce something that might have fit into a stray {$Busta Rhymes} album, but with what might be a {$Fela} sample thrown in before it builds into a full-fledged chant. There's a little bit of a subtle {$Outkast} vibe in {&"Black Stacey,"} a slurry cadence in the beat-heavy {&"PG,"} and an interesting interplay between plaintive cries of lyrics and a deep, minor structure in {&"Surrender."} Amid some squawking, {&"Control Freak"} mixes a hard snare with fairly sparse vocals. After one more run of {\spoken word} {\poetry}, the album ends on a somber note with {&"Notice of Eviction,"} which once again ramps up to a denser sound before it finishes. The album, like {$Williams} in general, is difficult to categorize. However, that difficulty to categorize is symptomatic of a wider variety of sound. Essentially all of the lyrical content is built upon {$Williams}' {\poetry}, largely sociocultural commentary and protest. What that {\poetry} is laid over, however, is a wild variety of sound, from sparse to dense, droopingly slow to frantically fast. It's not mainstream {\hip-hop} as much as an outright rejection of the excesses and lack of attention in much of contemporary {\hip-hop}. Despite being more mainstream than his previous work, this one isn't going to be grabbing people from the radio. Once it gets a listen though, it's likely to seduce listeners and turn them into fans. [The CD was also released with a bonus track.] ~ Adam Greenberg, All Music Guide
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![Disco de Saul Williams: “Saul Williams [Bonus Track]”](http://www.rapmusiczone.com/covers_yaS/saul-williams/2005_170_168_Saul%2520Williams%2520%255BBonus%2520Track%255D.jpg "Disco de Saul Williams: “Saul Williams [Bonus Track]”")